Lope and Antilope Get The Blessing

• 1Quiet05:56
• 2Little Ease04:20
• 3Corniche05:32
• 4Antilope04:11
• 5Luposcope03:11
• 6Viking Death Moped02:38
• 7Hope (For The Moment)04:33
• 8Trope03:08
• 9Lope04:26
• 10Numbers03:07
• Total Runtime41:02

Info for Lope and Antilope

Formed in 2000 to share a fascination with the improvisation and monophonic nature of Ornette Coleman's earlier works, the Bristol-based four-piece can now boast a truly international fan base and the last two years have seen them take their cellophane masks half way round the world and back (it was the rhythm of movement and travel experienced on the road that gave way to the new album and inspired the title). Throughout this time, the line-up has remained the same with Portishead rhythm masters Jim Barr and Clive Deamer on bass and drums respectively, Pete Judge on trumpet and Jake McMurchie on saxophone. And all this despite other commitments for everyone, not least Deamer's recruitment as Radiohead's second live drummer in 2012. The band's old friend and collaborator - and Portishead guitarist - Adrian Utley also returns to make a guest appearance with Bat for Lashes guitarist Tim Allen brought in to engineer the recording sessions.

Conceptually Lope & Antilope is different from previous albums as it makes use of sounds collected whilst on the road but crucially, is almost all improvised. With the urge to leave their comfort zone and break some of their recording habits, the album was recorded in an empty pottery in Pembrokeshire. With nothing written, everything on the album came out of four days of improvising. The starting point was often experimentation with sound effects, both acoustic and electric, to which a groove would be added, then a tune, or a solo and so forth. As the band put it, it's 'the culmination of 4 days of recording, 3 years of gigging and 12 years of drinking tea and gin.'

The use of guitar effects pedals and other electronic gizmos had become a big part of what the band do live, but until now had never been fully integrated into the recording process. As well as extensive use of delay by the horns, the rockiest track on the album, ‘Little Ease' also features the trumpet routed through a distortion pedal, bought for a song on the way to the first day of recording (it also features on ‘Trope'). The saxophone is treated in a similar way, producing the Theremin-like pitch bends that can be heard on ‘Quiet'. This could lead you to think that Lope & Antilope is an effects heavy, raucous album, but in fact the opposite would be more accurate. Lope & Antilope is more textured than previous work, shifting from the atmospheric ambience of ‘Luposcope' to the pulsing, almost Nordic menace of 'Viking Death Moped' - but all the way through maintaining the trademark bass riffs that carry the album through giving it that quintessential Get The Blessing sound.

'This is another exceptional release from a cutting-edge band on the UK's live jazz scene' (BBC Music Magazine)

'Lope and Antilope has got to be Get The Blessing’s most strikingly original statement on disc so far' (Jazzwise)

“From the beginning till the end, Lope & Antilope swarms with sound brainwaves (distorted trumpet, delayed horns, mutant loops), and reflects, with deep groove, splendors of a terribly English jazz (we could sometimes think of the Mike Westbrook Orchestra), as much lyrical as mesmerizing.” (Rolling Stone)

Clive Deamer, drums, tambourine and barabrith
Jim Barr, electric bass, bass V1, distortions, wah
Pete Judge, trumpet, flugelhorn, piano, distortion, looping
Jake McMurchie, tenor saxophone, baritone saxophone, pitch-bend, bit-crush
Adrian Utley, additional guitars

Recorded by Tim Allen and Jim Barr at Fronryhdd, Wales
Mixed by Jim Barr at J & J Studios, Bristol
Mastered by Shawn Joseph at Optimum Mastering, Bristol
Produced by Jim Barr and Get The Blessing

Get The Blessing
One of the most original and exciting bands to emerge in years, Get The Blessing released their debut album All Is Yes in February 2008 to universal acclaim. Formed by drummer Clive Deamer and bassist Jim Barr of ‘90s trip-hop superstars Portishead, Get The Blessing have stormed onto the scene, taking riffs and rhythms from rock and dance music and artfully welding them onto fearsomely inventive improvisation, winning rave reviews and legions of fans of all ages and tastes along the way. With trumpeter Pete Judge and saxophonist Jake McMurchie completing the line up, Get The Blessing’s rocking tunes and snappy arrangements create a genre-bending blend of sounds that is all their own, flirting slyly with jazz while pounding the dancefloor with their “gloriously powerful sound” (BBC Music Magazine, 5/5).

Get The Blessing formed in 2000 to share a fascination with improvised music, a pathological distrust of chords and a passion for cake and North African cuisine. Although they started out playing Ornette Coleman they steadily began slowly to make music of their own. Their new approach has much in common with the current crop of ‘postjazz’ trailblazers - bands such as EST, Polar Bear and Acoustic Ladyland – but also draws from influences as diverse as the Kings of Leon, Tortoise, Morphine, Elvis Costello, The Ramones, Red Snapper and Albert Ayler, with jazz, rock, punk and avant-garde all colliding in a joyous celebration of sound.

This album contains no booklet.